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      "title": "Tutorial DAW # 4 - PC Windows Optimisation for DAW ( Digital Audio Workstation )",
      "body": "This is the Windows Optimisation and we're going to be going through how to get the most out of your window system when using it for audio. This might allow you to reduce your buffer size which will in turn reduce your latency and it also just make sure that everything is running smoothly and it will minimize any issues that you might have during a session caused by your computer. So firstly we just have a couple of settings that you can change on your computer which will help optimize it So if you go to Control Panel and then go over to Hardware and Sound and then Device Manager, it will bring up a list of all of your devices. \n\n![Schermata 2018-06-15 alle 12.01.23.png](https://cdn.steemitimages.com/DQmToEBA8sXfM3vRMbkA8Cox5UZEDJaqHxsYAbYLjVtqtXT/Schermata%202018-06-15%20alle%2012.01.23.png)\n\nFor this one you you want to go onto your disk drive and then right-click and select Properties on your disk drive. 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One thing that can sometimes degrade the audio performance of your computer is actually graphics drivers. \n\n![Schermata 2018-06-15 alle 12.01.38.png](https://cdn.steemitimages.com/DQmPvgwcR8XWnCzpoS2wdU3TfAkJUaYhitTV8ADw9jBvQ9A/Schermata%202018-06-15%20alle%2012.01.38.png)\n\nNow that's not to say that the graphics drivers are bad, it's just that they cause the computer to prioritise video or the graphics over the audio. If you're just recording or doing some mixing or something and you don't need the video performance then it's usually a good idea just to disable your graphics driver temporarily to get the most out of your system. This is a bit more in depth than what we were doing previously but if you are having issues with audio dropouts and performance issues and then this could really help you. There is this program called Latency Mon which lets you analyze your system's drivers and it'll show you how long they're taking to complete their processes. If they are taking longer than they should then it will cause the computer to not be able to perform as well and will result in these audio samples being dropped. If you download LatencyMon from the website and then open it up you'll see that it comes up with a blank window to make sure you get the most out of this test you'll need to connect your audio interface and open your DAW and start playing audio through your audio interface. Once you've got all this set up you can just hit the green play symbol and it will start the test.\n\n![Schermata 2018-06-15 alle 12.01.59.png](https://cdn.steemitimages.com/DQmW9WA4Tn8uBwWfWVQxM6SMAom8aUTF41dnwQ3uQfrMVCC/Schermata%202018-06-15%20alle%2012.01.59.png)\n\nWe recommend that you leave it for about 10 minutes still with audio playing from your DAW Once you've waited 10 minutes for the test run if you go to the Drivers Tab it will give you a big long list of drivers. What we want to be looking at is the highest execution time and it shows you how long the drivers are taking to execute. We want to try and keep that below 0.1ms for each driver. As you can see in this example we have the \"ndis.sys\" driver which is above 0.1ms which means that this could be a driver that is causing us issues or that could cause us issues in the future. Now that we've identified that the \"ndis.sys\" is a problem driver for us and could be causing issues we have three options: we can deactivate it, we can update it or we can reconfigure it. When you find one of these you need to be very very careful not to just deactivate it because you might find that you ruin something on the computer you stop it from being able to boot. Some serious stuff! So it's worth a quick search to just check that the driver that you're going to be altering is not something very key like that. So after a quick search we found that the \"ndis.sys\" comes from the ethernet.\nSo if we disable that, if we go on to Control Panel and Network Connections right-click on Ethernet and disable, now if we go back into LatencyMon and run the test again ,we can see that the \"ndis.sys\" is no longer taking more than 0.1ms We do actually have a list of common drivers that have been known to cause problems. So if you head over to the link in the description that will give you a list of all the different things that could be worth just checking to see if they're on your system. If you want more information head over to support section of our website where there's lots of articles and useful things to help get you up and running with your product. I hope this has been useful and that it will help you get the most out of your recording experience.",
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      "title": "Tutorial DAW # 3 - EQ Tutorial the basics ( Digital Audio Workstation )",
      "body": "Welcome to the EQ tutorial by the end of you should have a strong foundation on what EQ is how to use it properly and why it's an essential tool in your projects for the purposes. I want to be using my favourite equalizer plug-in and that is the fruity parametric EQ - however the knowledge that you learn can be applied to any equalizer within any DAW of your choice every single sound that you hear is made up of frequencies and a frequency is a cycle per second the range that the human ear can detect in audio frequencies is roughly 20 Hertz all the way up to 20,000 Hertz or 20 kilohertz this is called the frequency spectrum so every single sound that you can perceive falls within this range and this range is the typical range of most equalizers 20 Hertz all the way up to 20,000 Hertz\n\n![Schermata 2018-06-15 alle 11.43.04.png](https://cdn.steemitimages.com/DQmcuiYouiW6SrDJYR7bs1asyQ4uC3JuPGN6XUPFMKRqLSP/Schermata%202018-06-15%20alle%2011.43.04.png)\n\nAnimals like dogs are known to be able to detect frequencies upwards of 50 kilohertz so if dogs were making music they'd have a lot more frequencies to worry about than us so no excuse humans different types of sounds and instruments tend to live in certain regions on the frequency spectrum for example drum sounds or percussive sounds like your high hats your snares your claps those tend to live up here in the treble and high mid region sounds like your leads your pads or vocals or guitars stuff like that those tend to live in this mid region right here low mid to high mid and sounds like bass lines and your kick drums tend to predominantly live down here in the sub and bass regions of course all these sounds can bleed over into surrounding regions but the regions that I just outlined are kind of where most of the frequency content of these particular sounds resides let's look at some examples here's a kick drum \n\n![Schermata 2018-06-15 alle 11.43.23.png](https://cdn.steemitimages.com/DQmVeDuUfoncDiBfA6Y1uJWBbbocmyiT3HL5QVBaemS3jio/Schermata%202018-06-15%20alle%2011.43.23.png)\n\nNow kick drums are one of the few instruments that actually does have frequency content pretty much throughout the whole spectrum as you can see when it comes in it sort of comes in strongly around the mid region and then sort of drifts down into the sub region there's a little bit of treble as well take a look now the initial part of the kick the transient or the snap that's the stuff that's happening from the treble all the way down to the low mid region the part of the kick that you feel in your chest or in the ground or if you have a good enough sound system the with the subwoofer outputs that's down here in this region around 150 Hertz and below here's a clap now as you can see there's a lot more stuff going on in this upper mid to treble region there's also a little bit happening down here in about the one hundred and sixty Hertz region and this is kind of giving it a little bit of low-end as well here's the hi-hat as you can see it's much more predominantly high mid to treble and it sort of just fades out as it gets lower than that there's really not much going on below the low mid region and even the mid to low mid there's just not too much happening there as well here's the baseline \n\n\n\nNow this particular bass line has a good amount of mid to low mid stuff going on in addition to the sub and bass frequencies here's a pluck as you can see lots of mid good amount of highs treble and really no bass so sound like this would actually mix really well with your bass stuff since it kind of gets out of the way right here at the low mid section by now you should be somewhat familiar and comfortable with the frequency spectrum so let's talk about EQ what is EQ EQ is a tool technique and an art for shaping or carving your sounds it can help eliminate or tame unwanted or resonating frequencies or it can accentuate the ones that you want it can help clear up your mix by preventing different sounds from fighting over the same frequency region and when using conjunction with compression it's a very powerful way of processing your sounds to your liking and by the way if you haven't seen my tutorial on compression yet I highly recommend you check that out I'll give a link to it right here now what we have here is what's called a seven band equalizer one two three four five six seven these seven bands serve as control points along the frequency spectrum that let you manipulate the sound each of these bands have properties associated with them these properties are frequency or where along the frequency spectrum you want the sound to be affected amount so this is set in decibels if you look in the top left as I move this up you see the decibel count so a positive number means you're boosting or accentuating the decibels and a negative number means you're cutting or eliminating certain frequencies at this point the next property \n\n\n\n![Schermata 2018-06-15 alle 11.43.12.png](https://cdn.steemitimages.com/DQmcacxC1CHByj22Cx2sJwQdirKEgmDT9QyKHE3n472e54S/Schermata%202018-06-15%20alle%2011.43.12.png)s shape or type so by default with this equaliser bands two through six are set as peaking type so that just means that they look like this sort of bell curve type shape bands one and seven are set to shelves Oh banned one is a low shelf so as you can see it looks a little different from band four then four kind of sweeps down on both sides as I bring it down whereas band one sweeps down on one side and then stays down for the entire rest of the spectrum that's called a shelf and then band seven is the opposite of band one it's a high shelf so when I bring this down you'll see that it has the opposite effect of a low shelf it stays down to the right of the spectrum as it's going down and by no coincidence at all that I create a pair of breasts any of these bands can have their shape or type changed at any time and to do that you can right-click on the band and go to type and it will show you the list of all the available types let's look at some of these so right now by default band one is a low shelf if we change it to a high pass we'll see that it's a little different from a low shelf a high pass basically states that any frequencies above where this band is are allowed to pass hence the name high pass the opposite of a high pass which we're going to set to number seven is a low pass any frequencies lower than where the band is set are allowed to pass so basically again one and seven are opposite in that one is a high pass seven is now a low pass so what's different from a high pass and a low shelf is that a low shelf goes down and then stays at a certain value a high pass cuts off completely at a certain value so a high pass which band one is set to currently will allow less frequencies to come through because it's completely cutting off the ones that fall to the left of this band feel free to go through and play with all the other shapes there's not too many other ones but you'll see how they affect the shape of your EQ curve and you can also play with them with audio obviously to see the kind of effect they have in your sound the next property that each band has has like three names but they all mean the same thing bandwidths resonance or cue literally the letter Q this determines how wide or narrow your band is affecting the sound in this equalizer there are two ways of affecting this value if you come down here to the speed W knob and move it up and down you can see it changing the width of this band my preferred method is to come over to the band itself and mouse over and just use the mouse wheel so something like this is a much narrower band and will affect only a certain limited number of frequencies versus something like this which is a much wider band this will affect a lot more surrounding frequencies at a exponentially less rate as it moves further away from this band another parameter that this equalizer gives you per band is how steep you want each slope to be so for example with band number seven I'm going to come down and go to order and you'll see that it's on two by default two is the gentlest slope that you can have in this equalizer so if I change it to something like steep eight you'll see that it creates a very steep slope and basically any treble that comes to this point is really not going to pass this equalizer band so this band is going to sharply cut anything right at the 5000 Hertz range if I change it to something like gentle 4 you'll see that it's a much gentler slope closer to 2 but not quite as gentle and this is just one of the many ways you can sort of shape each of these bands and of course in conjunction with that steep setting you can play with the bandwidth as well to really hone in on a customized slope for your liking now just to quickly recap we've got shape or type which can be set up here as well we've got a mount and this is in decibels again lower means you're cutting higher means you're boosting we've got frequency so this is where along the spectrum you want the  and to affect and then you have bandwidth aka cue or resonance the narrowness or width of the band and then finally if you right-click and come to order you also have the Steep option using these five parameters across up to seven bands can really help you shape and carve sounds to your liking now just remember that EQ e is absolutely an art there is no right or wrong way to EQ a sound everything you do in an equalizer similar to how it's done in a compressor is done to taste it all depends on what you're trying to accomplish or what sound you're going for now before I have done in this equalizer to the unaltered state so let's do thatevery single sound has its own special requirements or needs of Equalization depending on the situation or project that you're working in so there's really no way that I or anyone else can tell you how to equalize every single sound so what I recommend you do is you get comfortable with Equalization get good at using the tools that I've shown you and the techniques and before you know it equal izing will become second nature to you and you'll start equalizing things exactly to your liking combined with compression it's a very powerful way of processing sounds and making them sound really good in the mix.\n\n![Schermata 2018-06-15 alle 11.43.34.png](https://cdn.steemitimages.com/DQmXPow16UjtRkcf7j1RQGzApRqAwRhpGGqDD3g3oCein2a/Schermata%202018-06-15%20alle%2011.43.34.png)",
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      "author": "faderstudio",
      "permlink": "tutorial-daw-2-eq-tutorial-the-basics",
      "title": "Tutorial DAW # 3 - EQ Tutorial the basics",
      "body": "Welcome to the EQ tutorial by the end of you should have a strong foundation on what EQ is how to use it properly and why it's an essential tool in your projects for the purposes. I want to be using my favourite equalizer plug-in and that is the fruity parametric EQ - however the knowledge that you learn can be applied to any equalizer within any DAW of your choice every single sound that you hear is made up of frequencies and a frequency is a cycle per second the range that the human ear can detect in audio frequencies is roughly 20 Hertz all the way up to 20,000 Hertz or 20 kilohertz this is called the frequency spectrum so every single sound that you can perceive falls within this range and this range is the typical range of most equalizers 20 Hertz all the way up to 20,000 Hertz\n\n![Schermata 2018-06-15 alle 11.43.04.png](https://cdn.steemitimages.com/DQmcuiYouiW6SrDJYR7bs1asyQ4uC3JuPGN6XUPFMKRqLSP/Schermata%202018-06-15%20alle%2011.43.04.png)\n\nAnimals like dogs are known to be able to detect frequencies upwards of 50 kilohertz so if dogs were making music they'd have a lot more frequencies to worry about than us so no excuse humans different types of sounds and instruments tend to live in certain regions on the frequency spectrum for example drum sounds or percussive sounds like your high hats your snares your claps those tend to live up here in the treble and high mid region sounds like your leads your pads or vocals or guitars stuff like that those tend to live in this mid region right here low mid to high mid and sounds like bass lines and your kick drums tend to predominantly live down here in the sub and bass regions of course all these sounds can bleed over into surrounding regions but the regions that I just outlined are kind of where most of the frequency content of these particular sounds resides let's look at some examples here's a kick drum \n\n![Schermata 2018-06-15 alle 11.43.23.png](https://cdn.steemitimages.com/DQmVeDuUfoncDiBfA6Y1uJWBbbocmyiT3HL5QVBaemS3jio/Schermata%202018-06-15%20alle%2011.43.23.png)\n\nNow kick drums are one of the few instruments that actually does have frequency content pretty much throughout the whole spectrum as you can see when it comes in it sort of comes in strongly around the mid region and then sort of drifts down into the sub region there's a little bit of treble as well take a look now the initial part of the kick the transient or the snap that's the stuff that's happening from the treble all the way down to the low mid region the part of the kick that you feel in your chest or in the ground or if you have a good enough sound system the with the subwoofer outputs that's down here in this region around 150 Hertz and below here's a clap now as you can see there's a lot more stuff going on in this upper mid to treble region there's also a little bit happening down here in about the one hundred and sixty Hertz region and this is kind of giving it a little bit of low-end as well here's the hi-hat as you can see it's much more predominantly high mid to treble and it sort of just fades out as it gets lower than that there's really not much going on below the low mid region and even the mid to low mid there's just not too much happening there as well here's the baseline \n\n\n\nNow this particular bass line has a good amount of mid to low mid stuff going on in addition to the sub and bass frequencies here's a pluck as you can see lots of mid good amount of highs treble and really no bass so sound like this would actually mix really well with your bass stuff since it kind of gets out of the way right here at the low mid section by now you should be somewhat familiar and comfortable with the frequency spectrum so let's talk about EQ what is EQ EQ is a tool technique and an art for shaping or carving your sounds it can help eliminate or tame unwanted or resonating frequencies or it can accentuate the ones that you want it can help clear up your mix by preventing different sounds from fighting over the same frequency region and when using conjunction with compression it's a very powerful way of processing your sounds to your liking and by the way if you haven't seen my tutorial on compression yet I highly recommend you check that out I'll give a link to it right here now what we have here is what's called a seven band equalizer one two three four five six seven these seven bands serve as control points along the frequency spectrum that let you manipulate the sound each of these bands have properties associated with them these properties are frequency or where along the frequency spectrum you want the sound to be affected amount so this is set in decibels if you look in the top left as I move this up you see the decibel count so a positive number means you're boosting or accentuating the decibels and a negative number means you're cutting or eliminating certain frequencies at this point the next property \n\n\n\n![Schermata 2018-06-15 alle 11.43.12.png](https://cdn.steemitimages.com/DQmcacxC1CHByj22Cx2sJwQdirKEgmDT9QyKHE3n472e54S/Schermata%202018-06-15%20alle%2011.43.12.png)s shape or type so by default with this equaliser bands two through six are set as peaking type so that just means that they look like this sort of bell curve type shape bands one and seven are set to shelves Oh banned one is a low shelf so as you can see it looks a little different from band four then four kind of sweeps down on both sides as I bring it down whereas band one sweeps down on one side and then stays down for the entire rest of the spectrum that's called a shelf and then band seven is the opposite of band one it's a high shelf so when I bring this down you'll see that it has the opposite effect of a low shelf it stays down to the right of the spectrum as it's going down and by no coincidence at all that I create a pair of breasts any of these bands can have their shape or type changed at any time and to do that you can right-click on the band and go to type and it will show you the list of all the available types let's look at some of these so right now by default band one is a low shelf if we change it to a high pass we'll see that it's a little different from a low shelf a high pass basically states that any frequencies above where this band is are allowed to pass hence the name high pass the opposite of a high pass which we're going to set to number seven is a low pass any frequencies lower than where the band is set are allowed to pass so basically again one and seven are opposite in that one is a high pass seven is now a low pass so what's different from a high pass and a low shelf is that a low shelf goes down and then stays at a certain value a high pass cuts off completely at a certain value so a high pass which band one is set to currently will allow less frequencies to come through because it's completely cutting off the ones that fall to the left of this band feel free to go through and play with all the other shapes there's not too many other ones but you'll see how they affect the shape of your EQ curve and you can also play with them with audio obviously to see the kind of effect they have in your sound the next property that each band has has like three names but they all mean the same thing bandwidths resonance or cue literally the letter Q this determines how wide or narrow your band is affecting the sound in this equalizer there are two ways of affecting this value if you come down here to the speed W knob and move it up and down you can see it changing the width of this band my preferred method is to come over to the band itself and mouse over and just use the mouse wheel so something like this is a much narrower band and will affect only a certain limited number of frequencies versus something like this which is a much wider band this will affect a lot more surrounding frequencies at a exponentially less rate as it moves further away from this band another parameter that this equalizer gives you per band is how steep you want each slope to be so for example with band number seven I'm going to come down and go to order and you'll see that it's on two by default two is the gentlest slope that you can have in this equalizer so if I change it to something like steep eight you'll see that it creates a very steep slope and basically any treble that comes to this point is really not going to pass this equalizer band so this band is going to sharply cut anything right at the 5000 Hertz range if I change it to something like gentle 4 you'll see that it's a much gentler slope closer to 2 but not quite as gentle and this is just one of the many ways you can sort of shape each of these bands and of course in conjunction with that steep setting you can play with the bandwidth as well to really hone in on a customized slope for your liking now just to quickly recap we've got shape or type which can be set up here as well we've got a mount and this is in decibels again lower means you're cutting higher means you're boosting we've got frequency so this is where along the spectrum you want the  and to affect and then you have bandwidth aka cue or resonance the narrowness or width of the band and then finally if you right-click and come to order you also have the Steep option using these five parameters across up to seven bands can really help you shape and carve sounds to your liking now just remember that EQ e is absolutely an art there is no right or wrong way to EQ a sound everything you do in an equalizer similar to how it's done in a compressor is done to taste it all depends on what you're trying to accomplish or what sound you're going for now before I have done in this equalizer to the unaltered state so let's do thatevery single sound has its own special requirements or needs of Equalization depending on the situation or project that you're working in so there's really no way that I or anyone else can tell you how to equalize every single sound so what I recommend you do is you get comfortable with Equalization get good at using the tools that I've shown you and the techniques and before you know it equal izing will become second nature to you and you'll start equalizing things exactly to your liking combined with compression it's a very powerful way of processing sounds and making them sound really good in the mix.\n\n![Schermata 2018-06-15 alle 11.43.34.png](https://cdn.steemitimages.com/DQmXPow16UjtRkcf7j1RQGzApRqAwRhpGGqDD3g3oCein2a/Schermata%202018-06-15%20alle%2011.43.34.png)",
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      "author": "biblegateway",
      "permlink": "re-faderstudio-tutorial-daw-2-eq-tutorial-the-basics-20180615t094723138z",
      "title": "",
      "body": "God bless you. https://steemit.com/@biblegateway",
      "json_metadata": "{\"tags\":[\"daw\"],\"links\":[\"https://steemit.com/@biblegateway\"],\"app\":\"steemit/0.1\"}"
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      "parent_permlink": "daw",
      "author": "faderstudio",
      "permlink": "tutorial-daw-2-eq-tutorial-the-basics",
      "title": "Tutorial DAW # 2 - EQ Tutorial the basics",
      "body": "Welcome to the EQ tutorial by the end of you should have a strong foundation on what EQ is how to use it properly and why it's an essential tool in your projects for the purposes. I want to be using my favourite equalizer plug-in and that is the fruity parametric EQ - however the knowledge that you learn can be applied to any equalizer within any DAW of your choice every single sound that you hear is made up of frequencies and a frequency is a cycle per second the range that the human ear can detect in audio frequencies is roughly 20 Hertz all the way up to 20,000 Hertz or 20 kilohertz this is called the frequency spectrum so every single sound that you can perceive falls within this range and this range is the typical range of most equalizers 20 Hertz all the way up to 20,000 Hertz\n\n![Schermata 2018-06-15 alle 11.43.04.png](https://cdn.steemitimages.com/DQmcuiYouiW6SrDJYR7bs1asyQ4uC3JuPGN6XUPFMKRqLSP/Schermata%202018-06-15%20alle%2011.43.04.png)\n\nAnimals like dogs are known to be able to detect frequencies upwards of 50 kilohertz so if dogs were making music they'd have a lot more frequencies to worry about than us so no excuse humans different types of sounds and instruments tend to live in certain regions on the frequency spectrum for example drum sounds or percussive sounds like your high hats your snares your claps those tend to live up here in the treble and high mid region sounds like your leads your pads or vocals or guitars stuff like that those tend to live in this mid region right here low mid to high mid and sounds like bass lines and your kick drums tend to predominantly live down here in the sub and bass regions of course all these sounds can bleed over into surrounding regions but the regions that I just outlined are kind of where most of the frequency content of these particular sounds resides let's look at some examples here's a kick drum \n\n![Schermata 2018-06-15 alle 11.43.23.png](https://cdn.steemitimages.com/DQmVeDuUfoncDiBfA6Y1uJWBbbocmyiT3HL5QVBaemS3jio/Schermata%202018-06-15%20alle%2011.43.23.png)\n\nNow kick drums are one of the few instruments that actually does have frequency content pretty much throughout the whole spectrum as you can see when it comes in it sort of comes in strongly around the mid region and then sort of drifts down into the sub region there's a little bit of treble as well take a look now the initial part of the kick the transient or the snap that's the stuff that's happening from the treble all the way down to the low mid region the part of the kick that you feel in your chest or in the ground or if you have a good enough sound system the with the subwoofer outputs that's down here in this region around 150 Hertz and below here's a clap now as you can see there's a lot more stuff going on in this upper mid to treble region there's also a little bit happening down here in about the one hundred and sixty Hertz region and this is kind of giving it a little bit of low-end as well here's the hi-hat as you can see it's much more predominantly high mid to treble and it sort of just fades out as it gets lower than that there's really not much going on below the low mid region and even the mid to low mid there's just not too much happening there as well here's the baseline \n\n\n\nNow this particular bass line has a good amount of mid to low mid stuff going on in addition to the sub and bass frequencies here's a pluck as you can see lots of mid good amount of highs treble and really no bass so sound like this would actually mix really well with your bass stuff since it kind of gets out of the way right here at the low mid section by now you should be somewhat familiar and comfortable with the frequency spectrum so let's talk about EQ what is EQ EQ is a tool technique and an art for shaping or carving your sounds it can help eliminate or tame unwanted or resonating frequencies or it can accentuate the ones that you want it can help clear up your mix by preventing different sounds from fighting over the same frequency region and when using conjunction with compression it's a very powerful way of processing your sounds to your liking and by the way if you haven't seen my tutorial on compression yet I highly recommend you check that out I'll give a link to it right here now what we have here is what's called a seven band equalizer one two three four five six seven these seven bands serve as control points along the frequency spectrum that let you manipulate the sound each of these bands have properties associated with them these properties are frequency or where along the frequency spectrum you want the sound to be affected amount so this is set in decibels if you look in the top left as I move this up you see the decibel count so a positive number means you're boosting or accentuating the decibels and a negative number means you're cutting or eliminating certain frequencies at this point the next property \n\n\n\n![Schermata 2018-06-15 alle 11.43.12.png](https://cdn.steemitimages.com/DQmcacxC1CHByj22Cx2sJwQdirKEgmDT9QyKHE3n472e54S/Schermata%202018-06-15%20alle%2011.43.12.png)s shape or type so by default with this equaliser bands two through six are set as peaking type so that just means that they look like this sort of bell curve type shape bands one and seven are set to shelves Oh banned one is a low shelf so as you can see it looks a little different from band four then four kind of sweeps down on both sides as I bring it down whereas band one sweeps down on one side and then stays down for the entire rest of the spectrum that's called a shelf and then band seven is the opposite of band one it's a high shelf so when I bring this down you'll see that it has the opposite effect of a low shelf it stays down to the right of the spectrum as it's going down and by no coincidence at all that I create a pair of breasts any of these bands can have their shape or type changed at any time and to do that you can right-click on the band and go to type and it will show you the list of all the available types let's look at some of these so right now by default band one is a low shelf if we change it to a high pass we'll see that it's a little different from a low shelf a high pass basically states that any frequencies above where this band is are allowed to pass hence the name high pass the opposite of a high pass which we're going to set to number seven is a low pass any frequencies lower than where the band is set are allowed to pass so basically again one and seven are opposite in that one is a high pass seven is now a low pass so what's different from a high pass and a low shelf is that a low shelf goes down and then stays at a certain value a high pass cuts off completely at a certain value so a high pass which band one is set to currently will allow less frequencies to come through because it's completely cutting off the ones that fall to the left of this band feel free to go through and play with all the other shapes there's not too many other ones but you'll see how they affect the shape of your EQ curve and you can also play with them with audio obviously to see the kind of effect they have in your sound the next property that each band has has like three names but they all mean the same thing bandwidths resonance or cue literally the letter Q this determines how wide or narrow your band is affecting the sound in this equalizer there are two ways of affecting this value if you come down here to the speed W knob and move it up and down you can see it changing the width of this band my preferred method is to come over to the band itself and mouse over and just use the mouse wheel so something like this is a much narrower band and will affect only a certain limited number of frequencies versus something like this which is a much wider band this will affect a lot more surrounding frequencies at a exponentially less rate as it moves further away from this band another parameter that this equalizer gives you per band is how steep you want each slope to be so for example with band number seven I'm going to come down and go to order and you'll see that it's on two by default two is the gentlest slope that you can have in this equalizer so if I change it to something like steep eight you'll see that it creates a very steep slope and basically any treble that comes to this point is really not going to pass this equalizer band so this band is going to sharply cut anything right at the 5000 Hertz range if I change it to something like gentle 4 you'll see that it's a much gentler slope closer to 2 but not quite as gentle and this is just one of the many ways you can sort of shape each of these bands and of course in conjunction with that steep setting you can play with the bandwidth as well to really hone in on a customized slope for your liking now just to quickly recap we've got shape or type which can be set up here as well we've got a mount and this is in decibels again lower means you're cutting higher means you're boosting we've got frequency so this is where along the spectrum you want the  and to affect and then you have bandwidth aka cue or resonance the narrowness or width of the band and then finally if you right-click and come to order you also have the Steep option using these five parameters across up to seven bands can really help you shape and carve sounds to your liking now just remember that EQ e is absolutely an art there is no right or wrong way to EQ a sound everything you do in an equalizer similar to how it's done in a compressor is done to taste it all depends on what you're trying to accomplish or what sound you're going for now before I have done in this equalizer to the unaltered state so let's do thatevery single sound has its own special requirements or needs of Equalization depending on the situation or project that you're working in so there's really no way that I or anyone else can tell you how to equalize every single sound so what I recommend you do is you get comfortable with Equalization get good at using the tools that I've shown you and the techniques and before you know it equal izing will become second nature to you and you'll start equalizing things exactly to your liking combined with compression it's a very powerful way of processing sounds and making them sound really good in the mix.\n\n![Schermata 2018-06-15 alle 11.43.34.png](https://cdn.steemitimages.com/DQmXPow16UjtRkcf7j1RQGzApRqAwRhpGGqDD3g3oCein2a/Schermata%202018-06-15%20alle%2011.43.34.png)",
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      "title": "Tutorial DAW # 1 - External Hard Drives and DAW ( Digital Audio Workstation )",
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      "title": "Tutorial DAW # 2 - Basic Setup Hard Drives for Audio Production ( Digital Audio Workstation )",
      "body": "Today we're going to be looking at something a little bit different we'll be talking about basic hard drive setup for your audio production workstation so if you if you want to learn about raid array setups how to set up backup mirrors or even more advanced things like vienna ensemble pro master slave setup then i'd suggest looking elsewhere on youtube for these because as loads of videos already out there which people have done which provide you enough information on those topics we're just going to be looking at the basic principles behind how you should be installed in your software way should be installing it to where you should be saving your files and projects to and how you should be setting up your sample libraries for audio production things that you tend to install to your operating system driver your C Drive is generally speaking all of your programs so anything like a da w e music software   such as Cubase Pro Tools Logic Presonus Studio One whatever you use 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      "title": "Tutorial DAW # 2 - Basic Setup Hard Drives for Audio Production ( Digital Audio Workstation )",
      "body": "Today we're going to be looking at something a little bit different we'll be talking about basic hard drive setup for your audio production workstation so if you if you want to learn about raid array setups how to set up backup mirrors or even more advanced things like vienna ensemble pro master slave setup then i'd suggest looking elsewhere on youtube for these because as loads of videos already out there which people have done which provide you enough information on those topics we're just going to be looking at the basic principles behind how you should be installed in your software way should be installing it to where you should be saving your files and projects to and how you should be setting up your sample libraries for audio production things that you tend to install to your operating system driver your C Drive is generally speaking all of your programs so anything like a da w e music software   such as Cubase Pro Tools Logic Presonus Studio One whatever you use 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      "title": "Tutorial DAW # 2 - Basic Setup Hard Drives for Audio Production DAW ( Digital Audio Workstation )",
      "body": "Today we're going to be looking at something a little bit different we'll be talking about basic hard drive setup for your audio production workstation so if you if you want to learn about raid array setups how to set up backup mirrors or even more advanced things like vienna ensemble pro master slave setup then i'd suggest looking elsewhere on youtube for these because as loads of videos already out there which people have done which provide you enough information on those topics we're just going to be looking at the basic principles behind how you should be installed in your software way should be installing it to where you should be saving your files and projects to and how you should be setting up your sample libraries for audio production things that you tend to install to your operating system driver your C Drive is generally speaking all of your programs so anything like a da w e music software   such as Cubase Pro Tools Logic Presonus Studio One whatever you use 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      "permlink": "external-hard-drives-and-your-daw",
      "title": "Tutorial DAW # 1 - External Hard Drives and DAW ( Digital Audio Workstation )",
      "body": "I want to talk about external hard drives and how they\ncan be extremely advantageous to those of you who are working in the studio\nwith audio whether you're a producer a mix engineer a sound designer anything\nthat you do that has a demanding da W you want to have external hard drives in your setup they're going to make your workflow a lot smoother and more\nefficient they will make your DAW have much better performance they're gonna\nminimize recording latency and they're going to give you a solid backup that\nyou can rely on in case something goes wrong with one of your drives so let me tell you a little bit about my own personal setup with my external hard\ndrives in the studio.\n\n![Schermata 2018-06-15 alle 10.22.15.png](https://cdn.steemitimages.com/DQmZM1JPKxyJeN4mRw196ivVf6haCkurh4D6NNjCvMjXPQZ/Schermata%202018-06-15%20alle%2010.22.15.png)\n\nI have two identical two terabyte drives that are\nclones of each other in terms of the information on them I have all of my\nsession files all of my sample libraries all that stuff mixing sessions\nproduction sessions they are stored on the external so if anything went wrong\nwith the internal drive of my computer the only thing on there is the software it self so that and the plugins which I have a backup for that I'll tell you about that in just a second but I want that to rely on just running the OS keeping the DAW going smoothly I don't want to fill that up with a lot of files and make that one really slow and bogged down so if you've got a backup like this or a clone of your main drive with all your data on it if one of those drives fails I'm immediately able to work and pick up right where I left off no matter what so while the other one I'm getting that replaced or I'm getting it fixed I have all the data on another drive to where I'm not stuck not working so the third external drive I have is a one terabyte USB drive and it's not particularly fast or high-performance like these others are but it is just used for a time machine back up or a complete machine back up of my system computer so if something happened with that drive I have a copy that I could at least back up to my laptop and have the setup with all my software all my plugins saved to this and I back this up daily now as far as connectivity I do not have a newer machine I'm using an older iMac so I don't actually have Thunderbolt or even USB 3.0 on this computer the drives \n\n![Schermata 2018-06-15 alle 10.22.05.png](https://cdn.steemitimages.com/DQmeNkSsfaVoxrwJxW5oVayNadCT7qF1kVg5DnQmWRz7iRE/Schermata%202018-06-15%20alle%2010.22.05.png)\n\nI have utilized USB 2.0 I think they could use 3.0 if I had it but right now I'mn using that older technology I would recommend if you have a computer with Thunderbolt or USB 3.0 absolutely take advantage of an external drive that has his connectivity that's going to give you even faster read and write times from your DAW and with your samples so you're gonna get a lot better\nperformance one other thing you may want to consider with external drives is\ngoing with a solid-state drive or SSD external now I do not have an SSD at\nthis time but it's something that I'm definitely considering the reasons for\nit being number one these drives with the the mechanical physical aspects of\nthem they are a little bit loud there's fans in these and so I'm recording next to my computer that's always a concern and so sometimes I have to turn those off just to keep things nice and quiet also the SSDs are going to give you much better performance again they're going to be very fast especially if you have that newer connectivity technology like thunderbolt like USB 3.0 they are quite a bit more expensive than the older technology however moving forward they are going to be the way to go in terms of performance alright so that's a couple of quick thoughts on using external hard drives with your DAW. I can promise you if you're not utilizing this right now as soon as you start saving your sessions and saving a lot of your audio content onto the external it's going to make your DAW run so much better and keep your workflow a lot smoother and also keep your backups more consistent and have you better organized.\n\n![Schermata 2018-06-15 alle 10.22.50.png](https://cdn.steemitimages.com/DQmPuwzz3dFX2YNXiBYfght4m2xuCc46dn3vDvGNZyAuB35/Schermata%202018-06-15%20alle%2010.22.50.png)",
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      "title": "Basic Setup Hard Drives for Audio Production DAW ( Digital Audio Workstation )",
      "body": "Today we're going to be looking at something a little bit different we'll be talking about basic hard drive setup for your audio production workstation so if you if you want to learn about raid array setups how to set up backup mirrors or even more advanced things like vienna ensemble pro master slave setup then i'd suggest looking elsewhere on youtube for these because as loads of videos already out there which people have done which provide you enough information on those topics we're just going to be looking at the basic principles behind how you should be installed in your software way should be installing it to where you should be saving your files and projects to and how you should be setting up your sample libraries for audio production things that you tend to install to your operating system driver your C Drive is generally speaking all of your programs so anything like a da w e music software   such as Cubase Pro Tools Logic Presonus Studio One whatever you use in that will be installed to your C Drive seems like VST plugins' eq's compresses effects all that C Drive and then when it comes to VST instruments the software side of things the program the VST instruments program will also get installed to the C Drive the reason why we don't do things like save our files to receive drive our pictures and videos or samples from our VST instruments to C Drive is there's a couple of important reasons the first major reason is that if anything ever goes wrong with your main OS Drive and it crashes and dies a horrible death or you need to clean format because you've somehow got a virus then you're going to lose all of this information and you're going to have to reinstall all your software and your sample content but the other thing is that you're going to lose all your project files your pictures in the videos and stuff so it's never a good idea to install everything to one drive.\n\n![Schermata 2018-06-15 alle 10.47.28.png](https://cdn.steemitimages.com/DQma8va29ff7TDUBYWoLrDnjFtBnUW3WP6zZtLpgjZ5YwLN/Schermata%202018-06-15%20alle%2010.47.28.png)\n\nAnother reason being is that with hard drives you have they have this thing called read and write so depending on the performance of your hard drive if it's an SSD or if it's a mechanical hard drive there is a to how much data it can access at any given moment if you have too many things on one hard drive and it's trying to access all this different information here in one go you get this thing called a bottleneck now think of it as a tunnel and this is the big blob of everything trying to fit through that tunnel it's going to hit the sizing is just going to drip through a bit by a bit so the performance of your hard drive is going to be dead slow so if you have it all methodical with things and you install them separately across different hard drives when it comes to this tunnel this stuff is just going to work it's going to get loaded into Ram and it's just going to work nice and easy no no qualms no traffic no no it's just to be nice and quick so with your operating system you see drive it's just mainly all the software side of things that you're going to be installing or anything like your personal files your videos your pictures your projects and all that that's going to get installed to a separate drive which most of you will have if you've bought an entry-level PC they tend to be mechanical hard drives for this you can use SSDs if you want SSDs are always quicker much more efficient but for you know storage mechanical hard drives are fine the good thing about is that they're cheap so you'll probably have something like a one terabyte heart keep it up at t6 it not only have like a one terabyte two terabyte something mother it's always a good idea to have very\n\n![3d04ad.jpg](https://cdn.steemitimages.com/DQmbQ8ai6EJdtNh6LnxnPAJkPP5dGcaeUHX5jhYuqzLb6iU/3d04ad.jpg)\nlarge storage drives if you know you're going to be storing a lot of things on there so with mechanical hard drives are a lot cheaper than SSD so you get more storage capacity for the price so it's pretty self-explanatory really anything that's not software related so audio files for your projects or pictures or videos anything you can store them to install them save them to a projects drive now if you're a little bit more kind of anal about it for lack of a better word you can have a separate drive so I have a separate Drive and I have another mechanical hard drive which I store all my project files on and then the rest of Italy pictures and videos in that I store on a separate drive so I have two drives for storage and just because of how I work I do a bit of video editing software my setup a little bit different now when it comes to sample libraries to a different story altogether with sample libraries I always recommend getting an SSD Drive just because the sheer amount of samples which have been shifted across the hard drive when you're screaming them from the disk in your da W is ridiculous it's mind-boggling like one note of an instrument could be like a thousand samples so when you think about having lots of instruments loaded up in a session and you playing all these different samples especially high-end sample libraries and you're going to need a very quick hard drive which it's got a decent sized capacity to handle all these things on or you can get multiple smaller versions of hard drives and break them down that way across the hard drive so when you're installing a VST instrument like an orchestral library or an O guitar library something matter you'll find that there's three different stages to install it on the first one is the software so it will ask you about installed software you'll tell it your C Drive wherever you want in your C Drive the second thing it'll ask you is where it would like to install with DDL files or dll files that's one or two which is the sort of like the same file as a VST 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      "title": "Basic Setup Hard Drives for Audio Production DAW",
      "body": "Today we're going to be looking at something a little bit different we'll be talking about basic hard drive setup for your audio production workstation so if you if you want to learn about raid array setups how to set up backup mirrors or even more advanced things like vienna ensemble pro master slave setup then i'd suggest looking elsewhere on youtube for these because as loads of videos already out there which people have done which provide you enough information on those topics we're just going to be looking at the basic principles behind how you should be installed in your software way should be installing it to where you should be saving your files and projects to and how you should be setting up your sample libraries for audio production things that you tend to install to your operating system driver your C Drive is generally speaking all of your programs so anything like a da w e music software   such as Cubase Pro Tools Logic Presonus Studio One whatever you use 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      "body": "@@ -280,17 +280,17 @@\n rives in\n-%0A\n+ \n your set\n@@ -584,17 +584,17 @@\n o let me\n-%0A\n+ \n tell you\n@@ -1199,19 +1199,20 @@\n software\n-%0A\n+ \n it\n+ \n self so \n@@ -1276,17 +1276,17 @@\n tell you\n-%0A\n+ \n about th\n@@ -1351,17 +1351,17 @@\n g the OS\n-%0A\n+ \n keeping \n@@ -1431,17 +1431,17 @@\n of files\n-%0A\n+ \n and make\n@@ -1513,17 +1513,17 @@\n ike this\n-%0A\n+ \n or a clo\n@@ -1591,17 +1591,17 @@\n e drives\n-%0A\n+ \n fails I'\n@@ -1671,17 +1671,17 @@\n o matter\n-%0A\n+ \n what so \n@@ -1751,17 +1751,17 @@\n  fixed I\n-%0A\n+ \n have all\n@@ -1828,17 +1828,17 @@\n g so the\n-%0A\n+ \n third ex\n@@ -1897,17 +1897,17 @@\n it's not\n-%0A\n+ \n particul\n@@ -1957,17 +1957,17 @@\n hers are\n-%0A\n+ \n but it i\n@@ -2037,17 +2037,17 @@\n ck up of\n-%0A\n+ \n my syste\n@@ -2111,17 +2111,17 @@\n e a copy\n-%0A\n+ \n that I c\n@@ -2185,17 +2185,17 @@\n h all my\n-%0A\n+ \n software\n@@ -2262,17 +2262,17 @@\n s far as\n-%0A\n+ \n connecti\n@@ -2334,17 +2334,17 @@\n Mac so I\n-%0A\n+ \n don't ac\n@@ -2660,17 +2660,18 @@\n  now I'm\n-%0A\n+n \n using th\n@@ -2735,17 +2735,17 @@\n ter with\n-%0A\n+ \n Thunderb\n@@ -2814,17 +2814,17 @@\n that has\n-%0A\n+ \n his conn\n@@ -2889,17 +2889,17 @@\n te times\n-%0A\n+ \n from you\n@@ -3344,17 +3344,17 @@\n ing next\n-%0A\n+ \n to my co\n@@ -3421,17 +3421,17 @@\n rn those\n-%0A\n+ \n off just\n@@ -3501,17 +3501,17 @@\n you much\n-%0A\n+ \n better p\n@@ -3579,17 +3579,17 @@\n you have\n-%0A\n+ \n that new\n@@ -3659,17 +3659,17 @@\n re quite\n-%0A\n+ \n a bit mo\n@@ -3734,17 +3734,17 @@\n ard they\n-%0A\n+ \n are goin\n@@ -3808,17 +3808,17 @@\n that's a\n-%0A\n+ \n couple o\n@@ -3878,17 +3878,17 @@\n our DAW.\n-%0A\n+ \n I can pr\n@@ -3956,17 +3956,17 @@\n ou start\n-%0A\n+ \n saving y\n@@ -4034,17 +4034,17 @@\n external\n-%0A\n+ \n it's goi\n@@ -4110,17 +4110,17 @@\n ow a lot\n-%0A\n+ \n smoother\n",
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      "body": "@@ -2410,18 +2410,187 @@\n  drives \n-I\n %0A\n+%0A!%5BSchermata 2018-06-15 alle 10.22.05.png%5D(https://cdn.steemitimages.com/DQmeNkSsfaVoxrwJxW5oVayNadCT7qF1kVg5DnQmWRz7iRE/Schermata%25202018-06-15%2520alle%252010.22.05.png)%0A%0AI \n have uti\n@@ -3881,176 +3881,8 @@\n AW.%0A\n-%0A!%5BSchermata 2018-06-15 alle 10.22.05.png%5D(https://cdn.steemitimages.com/DQmeNkSsfaVoxrwJxW5oVayNadCT7qF1kVg5DnQmWRz7iRE/Schermata%25202018-06-15%2520alle%252010.22.05.png)%0A%0A\n I ca\n@@ -4194,481 +4194,10 @@\n ized\n+.\n %0A\n-that way so if you have any questions or comments about external hard drives feel%0Afree to leave them below if you learned anything in this video please like and%0Asubscribe and we'll talk to you soon... its money over people not%0Athe people over power about time we start speaking our generations turning%0Aback the hours they think we're apathetic, might be sympathetic if they%0Arealized we're on a new page or we stay silent and a futures fade away... gone don't let%0Athis life\n %0A!%5BS\n",
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      "title": "External Hard Drives and DAW ( Digital Audio Workstation )",
      "body": "I want to talk about external hard drives and how they\ncan be extremely advantageous to those of you who are working in the studio\nwith audio whether you're a producer a mix engineer a sound designer anything\nthat you do that has a demanding da W you want to have external hard drives in\nyour setup they're going to make your workflow a lot smoother and more\nefficient they will make your DAW have much better performance they're gonna\nminimize recording latency and they're going to give you a solid backup that\nyou can rely on in case something goes wrong with one of your drives so let me\ntell you a little bit about my own personal setup with my external hard\ndrives in the studio.\n\n![Schermata 2018-06-15 alle 10.22.15.png](https://cdn.steemitimages.com/DQmZM1JPKxyJeN4mRw196ivVf6haCkurh4D6NNjCvMjXPQZ/Schermata%202018-06-15%20alle%2010.22.15.png)\n\nI have two identical two terabyte drives that are\nclones of each other in terms of the information on them I have all of my\nsession files all of my sample libraries all that stuff mixing sessions\nproduction sessions they are stored on the external so if anything went wrong\nwith the internal drive of my computer the only thing on there is the software\nitself so that and the plugins which I have a backup for that I'll tell you\nabout that in just a second but I want that to rely on just running the OS\nkeeping the DAW going smoothly I don't want to fill that up with a lot of files\nand make that one really slow and bogged down so if you've got a backup like this\nor a clone of your main drive with all your data on it if one of those drives\nfails I'm immediately able to work and pick up right where I left off no matter\nwhat so while the other one I'm getting that replaced or I'm getting it fixed I\nhave all the data on another drive to where I'm not stuck not working so the\nthird external drive I have is a one terabyte USB drive and it's not\nparticularly fast or high-performance like these others are\nbut it is just used for a time machine back up or a complete machine back up of\nmy system computer so if something happened with that drive I have a copy\nthat I could at least back up to my laptop and have the setup with all my\nsoftware all my plugins saved to this and I back this up daily now as far as\nconnectivity I do not have a newer machine I'm using an older iMac so I\ndon't actually have Thunderbolt or even USB 3.0 on this computer the drives I\nhave utilized USB 2.0 I think they could use 3.0 if I had it but right now I'm\nusing that older technology I would recommend if you have a computer with\nThunderbolt or USB 3.0 absolutely take advantage of an external drive that has\nhis connectivity that's going to give you even faster read and write times\nfrom your DAW and with your samples so you're gonna get a lot better\nperformance one other thing you may want to consider with external drives is\ngoing with a solid-state drive or SSD external now I do not have an SSD at\nthis time but it's something that I'm definitely considering the reasons for\nit being number one these drives with the the mechanical physical aspects of\nthem they are a little bit loud there's fans in these and so I'm recording next\nto my computer that's always a concern and so sometimes I have to turn those\noff just to keep things nice and quiet also the SSDs are going to give you much\nbetter performance again they're going to be very fast especially if you have\nthat newer connectivity technology like thunderbolt like USB 3.0 they are quite\na bit more expensive than the older technology however moving forward they\nare going to be the way to go in terms of performance alright so that's a\ncouple of quick thoughts on using external hard drives with your DAW.\n\n![Schermata 2018-06-15 alle 10.22.05.png](https://cdn.steemitimages.com/DQmeNkSsfaVoxrwJxW5oVayNadCT7qF1kVg5DnQmWRz7iRE/Schermata%202018-06-15%20alle%2010.22.05.png)\n\nI can promise you if you're not utilizing this right now as soon as you start\nsaving your sessions and saving a lot of your audio content onto the external\nit's going to make your DAW run so much better and keep your workflow a lot\nsmoother and also keep your backups more consistent and have you better organized\nthat way so if you have any questions or comments about external hard drives feel\nfree to leave them below if you learned anything in this video please like and\nsubscribe and we'll talk to you soon... its money over people not\nthe people over power about time we start speaking our generations turning\nback the hours they think we're apathetic, might be sympathetic if they\nrealized we're on a new page or we stay silent and a futures fade away... gone don't let\nthis life\n![Schermata 2018-06-15 alle 10.22.50.png](https://cdn.steemitimages.com/DQmPuwzz3dFX2YNXiBYfght4m2xuCc46dn3vDvGNZyAuB35/Schermata%202018-06-15%20alle%2010.22.50.png)",
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      "body": "I want to talk about external hard drives and how they\ncan be extremely advantageous to those of you who are working in the studio\nwith audio whether you're a producer a mix engineer a sound designer anything\nthat you do that has a demanding da W you want to have external hard drives in\nyour setup they're going to make your workflow a lot smoother and more\nefficient they will make your DAW have much better performance they're gonna\nminimize recording latency and they're going to give you a solid backup that\nyou can rely on in case something goes wrong with one of your drives so let me\ntell you a little bit about my own personal setup with my external hard\ndrives in the studio.\n\n![Schermata 2018-06-15 alle 10.22.15.png](https://cdn.steemitimages.com/DQmZM1JPKxyJeN4mRw196ivVf6haCkurh4D6NNjCvMjXPQZ/Schermata%202018-06-15%20alle%2010.22.15.png)\n\nI have two identical two terabyte drives that are\nclones of each other in terms of the information on them I have all of my\nsession files all of my sample libraries all that stuff mixing sessions\nproduction sessions they are stored on the external so if anything went wrong\nwith the internal drive of my computer the only thing on there is the software\nitself so that and the plugins which I have a backup for that I'll tell you\nabout that in just a second but I want that to rely on just running the OS\nkeeping the DAW going smoothly I don't want to fill that up with a lot of files\nand make that one really slow and bogged down so if you've got a backup like this\nor a clone of your main drive with all your data on it if one of those drives\nfails I'm immediately able to work and pick up right where I left off no matter\nwhat so while the other one I'm getting that replaced or I'm getting it fixed I\nhave all the data on another drive to where I'm not stuck not working so the\nthird external drive I have is a one terabyte USB drive and it's not\nparticularly fast or high-performance like these others are\nbut it is just used for a time machine back up or a complete machine back up of\nmy system computer so if something happened with that drive I have a copy\nthat I could at least back up to my laptop and have the setup with all my\nsoftware all my plugins saved to this and I back this up daily now as far as\nconnectivity I do not have a newer machine I'm using an older iMac so I\ndon't actually have Thunderbolt or even USB 3.0 on this computer the drives I\nhave utilized USB 2.0 I think they could use 3.0 if I had it but right now I'm\nusing that older technology I would recommend if you have a computer with\nThunderbolt or USB 3.0 absolutely take advantage of an external drive that has\nhis connectivity that's going to give you even faster read and write times\nfrom your DAW and with your samples so you're gonna get a lot better\nperformance one other thing you may want to consider with external drives is\ngoing with a solid-state drive or SSD external now I do not have an SSD at\nthis time but it's something that I'm definitely considering the reasons for\nit being number one these drives with the the mechanical physical aspects of\nthem they are a little bit loud there's fans in these and so I'm recording next\nto my computer that's always a concern and so sometimes I have to turn those\noff just to keep things nice and quiet also the SSDs are going to give you much\nbetter performance again they're going to be very fast especially if you have\nthat newer connectivity technology like thunderbolt like USB 3.0 they are quite\na bit more expensive than the older technology however moving forward they\nare going to be the way to go in terms of performance alright so that's a\ncouple of quick thoughts on using external hard drives with your DAW.\n\n![Schermata 2018-06-15 alle 10.22.05.png](https://cdn.steemitimages.com/DQmeNkSsfaVoxrwJxW5oVayNadCT7qF1kVg5DnQmWRz7iRE/Schermata%202018-06-15%20alle%2010.22.05.png)\n\nI can promise you if you're not utilizing this right now as soon as you start\nsaving your sessions and saving a lot of your audio content onto the external\nit's going to make your DAW run so much better and keep your workflow a lot\nsmoother and also keep your backups more consistent and have you better organized\nthat way so if you have any questions or comments about external hard drives feel\nfree to leave them below if you learned anything in this video please like and\nsubscribe and we'll talk to you soon... its money over people not\nthe people over power about time we start speaking our generations turning\nback the hours they think we're apathetic, might be sympathetic if they\nrealized we're on a new page or we stay silent and a futures fade away... gone don't let\nthis life\n![Schermata 2018-06-15 alle 10.22.50.png](https://cdn.steemitimages.com/DQmPuwzz3dFX2YNXiBYfght4m2xuCc46dn3vDvGNZyAuB35/Schermata%202018-06-15%20alle%2010.22.50.png)",
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      "body": "Quello del Rap, è un business molto lucroso, ma i producer di musica hip hop lavorano dietro le quinte, creando tracce strumentali per un’etichetta discografica, o semplicemente per divertimento. Ci sono molti tipi di producer, ma tutti seguono gli stessi passaggi di base. Serve tecnica ma sopratutto far esprimere la propria fantasia al meglio.\n\n![graffiti-393488_960_720.jpg](https://steemitimages.com/DQmdDRATWcAKSzysUpWHWBYTqvbZWxH3cubpvsMh91mtBW3/graffiti-393488_960_720.jpg)\n\n1 - Devi amare l’hip hop e la musica in generale. L’industria musicale è dura e spietata, e senza una profonda passione per la musica hip hop non potrai mai diventare bravo o famoso, credici sempre ! Devi anche amare tutti i tipi di musica, poiché così potrai più facilmente stimolare la tua creatività, dato che questo genere musicale prende il meglio e le tendenze da gli altri e ne esprime l' essenza.\n\n![hip-hop-264396_960_720.jpg](https://steemitimages.com/DQmf2o8zjfhHWixTBMzqnEAC5FiEBr3JURroru4GS745nkt/hip-hop-264396_960_720.jpg)\n\n2 - Studia la musica. Questa è una fase che non dovrai mai smettere di tener presente, e non potrai mai pensare di conoscere tutto sulla musica, a nessun punto della tua carriera. Studia tutti i differenti stili di musica, non soltanto l’hip hop moderno. Studia le origini di qualsiasi genere musicale, la teoria e i grandi musicisti. Nessun genere musicale va' tralasciato, neanche il piu' lontano dai tuoi gusti personali.\n\n!https://steemitimages.com/DQmW3LU5pJApaceLLkULZ19FfwW4PGtvvQ1rL4v55SruCzk/Yamaha_RS7000_Music_Production_Studio.jpg\n\n3 - Scegli l’attrezzatura di cui ti servirai. Questa è una fase molto complicata, poiché ci sono infinite combinazioni di hardware e software. Potresti provare le versioni demo dei software per la creazione di musica, per poi creare contenuti con delle soluzioni a pagamento piu' professionali. Se sei tu stesso a creare i tuoi campionamenti, considera la maniera con cui averne accesso (da giradischi, dal computer, etc.). Se sei interessato nella composizione tramite l’ausilio di sintetizzatori e strumenti virtuali, una tastiera MIDI è un investimento eccellente. Per la parte vocale un buon microfono a condensatori e' la scelta piu' opportuna e duratura.\n\n![akai_mpc60.jpg](https://steemitimages.com/DQmSAWrKfmjGahmAGErqMVcztZvTfzcCee5xBRQZ7X25r3A/akai_mpc60.jpg)\n\n4 - Sperimenta. Crea una semplice traccia di batteria (es. Cassa – Charleston – rullante – Charleston) e gioca con le note inserendole nelle battute. Questo passaggio dovrebbe aiutarti ad avere familiarità con la tua attrezzatura, ti servirà del tempo per acquisire delle vere abilità con la tua attrezzatura, ma ne sarai ricompensato e soddisfatto, meglio poco ma che ben conosci; seleziona il superfluo !\n\n![emu_sp1200.jpg](https://steemitimages.com/DQmTHvXxoiKijspnUnDjAR6n8GG4DFkqLvL1Fm3YUoxMeDR/emu_sp1200.jpg)\n\n5 - Inizia a perfezionare i tuoi beat. Leggi manuali e libri specializzati, contatta chi gia' produce per carpirne informazioni e cerca collaborazioni con chi gia' produce in autonomia. Informati in merito all'uso di effetti, equalizzazione e quantizzazione, e inizia a smanettare; fai le cose piu' strane, anche assurde, spesso e' da li' che nascono ottime idee.\n\n![Friend's_home_studio_(by_David_J).jpg](https://steemitimages.com/DQmbbuyWuw2knNXXorg8HYyRmfpsbq8gfSiMab4WctuHNjh/Friend's_home_studio_(by_David_J).jpg)\n\n6 - Non appena riuscirai a fare in modo che chi ascolta la tua musica segua quasi involontariamente il tempo muovendo la testa, inizia a promuoverti. Utilizza siti come rocbattle.com, soundclick.com, givemebeats.net e cdbaby.com a tuo vantaggio. Cerca dei rapper, locali o sul web, e prova a produrre qualche demo in collaborazione, l' unione fa' la forza ! Credici sempre !\n\n![Public_Enemy-01-mika.jpg](https://steemitimages.com/DQmSEgRGAtnkZvjWE6TgXbh65VCqftq7PEQDsHxtmDXixgB/Public_Enemy-01-mika.jpg)",
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      "body": "Quello del Rap, è un business molto lucroso, ma i producer di musica hip hop lavorano dietro le quinte, creando tracce strumentali per un’etichetta discografica, o semplicemente per divertimento. Ci sono molti tipi di producer, ma tutti seguono gli stessi passaggi di base. Serve tecnica ma sopratutto far esprimere la propria fantasia al meglio.\n\n![graffiti-393488_960_720.jpg](https://steemitimages.com/DQmdDRATWcAKSzysUpWHWBYTqvbZWxH3cubpvsMh91mtBW3/graffiti-393488_960_720.jpg)\n\n1 - Devi amare l’hip hop e la musica in generale. L’industria musicale è dura e spietata, e senza una profonda passione per la musica hip hop non potrai mai diventare bravo o famoso, credici sempre ! Devi anche amare tutti i tipi di musica, poiché così potrai più facilmente stimolare la tua creatività, dato che questo genere musicale prende il meglio e le tendenze da gli altri e ne esprime l' essenza.\n\n![hip-hop-264396_960_720.jpg](https://steemitimages.com/DQmf2o8zjfhHWixTBMzqnEAC5FiEBr3JURroru4GS745nkt/hip-hop-264396_960_720.jpg)\n\n2 - Studia la musica. Questa è una fase che non dovrai mai smettere di tener presente, e non potrai mai pensare di conoscere tutto sulla musica, a nessun punto della tua carriera. Studia tutti i differenti stili di musica, non soltanto l’hip hop moderno. Studia le origini di qualsiasi genere musicale, la teoria e i grandi musicisti. Nessun genere musicale va' tralasciato, neanche il piu' lontano dai tuoi gusti personali.\n\n!https://steemitimages.com/DQmW3LU5pJApaceLLkULZ19FfwW4PGtvvQ1rL4v55SruCzk/Yamaha_RS7000_Music_Production_Studio.jpg\n\n3 - Scegli l’attrezzatura di cui ti servirai. Questa è una fase molto complicata, poiché ci sono infinite combinazioni di hardware e software. Potresti provare le versioni demo dei software per la creazione di musica, per poi creare contenuti con delle soluzioni a pagamento piu' professionali. Se sei tu stesso a creare i tuoi campionamenti, considera la maniera con cui averne accesso (da giradischi, dal computer, etc.). Se sei interessato nella composizione tramite l’ausilio di sintetizzatori e strumenti virtuali, una tastiera MIDI è un investimento eccellente. Per la parte vocale un buon microfono a condensatori e' la scelta piu' opportuna e duratura.\n\n![akai_mpc60.jpg](https://steemitimages.com/DQmSAWrKfmjGahmAGErqMVcztZvTfzcCee5xBRQZ7X25r3A/akai_mpc60.jpg)\n\n4 - Sperimenta. Crea una semplice traccia di batteria (es. Cassa – Charleston – rullante – Charleston) e gioca con le note inserendole nelle battute. Questo passaggio dovrebbe aiutarti ad avere familiarità con la tua attrezzatura, ti servirà del tempo per acquisire delle vere abilità con la tua attrezzatura, ma ne sarai ricompensato e soddisfatto, meglio poco ma che ben conosci; seleziona il superfluo !\n\n![emu_sp1200.jpg](https://steemitimages.com/DQmTHvXxoiKijspnUnDjAR6n8GG4DFkqLvL1Fm3YUoxMeDR/emu_sp1200.jpg)\n\n5 - Inizia a perfezionare i tuoi beat. Leggi manuali e libri specializzati, contatta chi gia' produce per carpirne informazioni e cerca collaborazioni con chi gia' produce in autonomia. Informati in merito all'uso di effetti, equalizzazione e quantizzazione, e inizia a smanettare; fai le cose piu' strane, anche assurde, spesso e' da li' che nascono ottime idee.\n\n![Friend's_home_studio_(by_David_J).jpg](https://steemitimages.com/DQmbbuyWuw2knNXXorg8HYyRmfpsbq8gfSiMab4WctuHNjh/Friend's_home_studio_(by_David_J).jpg)\n\n6 - Non appena riuscirai a fare in modo che chi ascolta la tua musica segua quasi involontariamente il tempo muovendo la testa, inizia a promuoverti. Utilizza siti come rocbattle.com, soundclick.com, givemebeats.net e cdbaby.com a tuo vantaggio. Cerca dei rapper, locali o sul web, e prova a produrre qualche demo in collaborazione, l' unione fa' la forza ! Credici sempre !\n\n![Public_Enemy-01-mika.jpg](https://steemitimages.com/DQmSEgRGAtnkZvjWE6TgXbh65VCqftq7PEQDsHxtmDXixgB/Public_Enemy-01-mika.jpg)",
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      "body": "Questo tutorial e' dedicato alla registrazione in Studio di Registrazione del Pianoforte; saranno affrontati tanti temi ed alcuni piccoli segreti. Vi aspettiamo presso il nostro Studio di Produzione Musicale.\n\n<iframe width=\"560\" height=\"315\" src=\"https://www.youtube.com/embed/L6FX5zl2Hz0\" frameborder=\"0\" gesture=\"media\" allow=\"encrypted-media\" allowfullscreen></iframe>\n\nContact:\n\nYoutube: http://ow.ly/pPP030hA2VW\nTwitter: http://ow.ly/TjmV30hA2XF\nFacebook: http://ow.ly/TqE630hA2ZL\nGoogle + : http://ow.ly/Y2fq30hA339\nApple iTunes Podcast: http://ow.ly/6BIU30hA35i",
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      "title": "10 cose da controllare prima di inviare il Mix allo Studio Mastering",
      "body": "Hai registrato, arrangiato e mixato il progetto ... ma, non e’ ancora finito.\n\nSe si decide di inviare il vostro mix per essere masterizzato professionalmente, ecco 10 cose essenziali da controllare in primo luogo.\n\n![001.jpg](https://steemitimages.com/DQmWkK4nsZCXgsPcqDCMx9dPUARQ4c7toSJwKwZCTbyGBGF/001.jpg)\n\n1 - Comprendere le limitazioni di Mastering\n\nPadroneggiare, aumentare o diminuire specifici aspetti sonori e punch-up come la densità e la compressione, può migliorare la fedeltà globale del brano. Tuttavia, come la maggior parte dei brani sono presentati come una traccia stereo, qualsiasi cambiamento positivo per un aspetto può avere un impatto negativo un altro. Cambiare l'EQ del mix cambierà pure l'equilibrio dei suoni. Al fine di presentare un mix più vicino al prodotto finito possibile ......segui la guida\n\n2 - Confronta il tuo mix con quello fatto da professionisti\n\nTrova audio di qualità CD di lavori commerciali (non ascoltare mp3 o altri formati compressi) finiti che suonano vicino al tuo ideale. Ascolta il mix e il CD contemporaneamente e spostati avanti e indietro durante l'ascolto. Ascolta se il bilanciamento spettrale è più brillante nel mix, rimbombante o fangoso in confronto? Ascolta il suono di ogni strumento solista e confrontarlo con la registrazione PRO. Utilizza spesso un volume moderato che vi permette di portare avanti una conversazione con qualcuno seduto accanto a te senza alzare la voce e cerca di percepire ogni singolo suono del brano.\n\n![006.jpg](https://steemitimages.com/DQmS34ePQEwztkQLjqKYSpjbNMHmLoNi6FhUKNQXXqRnzHG/006.jpg)\n\n3 - Utilizzare una gamma completa, sistema di monitoraggio ben bilanciato\n\nSolo perché avete un paio di NS-10 monitor, questo non significa che si sente tutto. Avete bisogno di un paio di altoparlanti non-hyped con suono neutro, preferibilmente con un subwoofer per sentire tutto nel mix. Assicurarsi che siano posizionati ad almeno un metro dalle pareti e la vostra camera non \"ring\" (rimbombi) a determinate frequenze. Ascolta con attivo il plug-in Signal Generator per determinare se alcune frequenze suonano più forte di altri. Se c'è irregolarità, i mix probabilmente riflettono l'inverso delle anomalie acustiche. Se non potete permettervi altoparlanti di qualità professionale e l'acustica adeguata, ottenete un buon paio di cuffie con una estremità inferiore esteso (ma non pubblicizzate). Le cuffie sono particolarmente buone per controllare la vostra immagine stereo, come si dovrebbe essere in grado di individuare dove appare un suono nel campo stereo.\n\n4 - Utilizzare un misuratore di fase sul bus stereo\n\nStereo significa che state \"utilizzando due microfoni” (le vostre orecchie). Dovresti essere in grado di individuare ogni suono nel campo stereo. Se non e’ presente nella stereofonia o suona come è dietro di voi, è probabile che sia fuori fase. Questo può essere un effetto “fresco” in cuffia, ma quando si ascolta in mono, il suono scompare. Ricordate che 1 + (-1) = 0. Se si dispone di un pianoforte o una chitarra acustica in stereo, microfonato largo, mettere i canali in solo, poi cerca la zona di fase. In questo modo si assicurano che il vostro mix ha lo stesso equilibrio in mono o stereo. Utilizzare plug-in FASE SCOPE di Pro- Tools (Inserisci questo plug-in Phasescope sul bus stereo, vedi immagine sotto) ; se utilizzi un altro sequencer usa un plugin analogo. Nel plugin FASE SCOPE Il cerchio rappresenta un oscilloscopio con modelli di Lissajous. Si deve verificare che il mix sia visualizzato attorno ad un asse verticale, il che significa che è ben centrato. Una sottile linea verticale è mono. Se vedete qualsiasi attività sull'asse orizzontale, qualcosa è fuori fase. Esso sarà conforme a eventi in audio, quindi è abbastanza facile da vedere e sentire che cosa sta causando. Se si ascolta un colpo di piatti e una nota stereo di pianoforte al tempo stesso, e l’ asse orizzontale vola in alto o la linea di fase a sinistra, probabilmente avete trovato il problema. Gioca la stessa sezione di nuovo con quel canale in Solo per confermarlo. Correggere la fase utilizzando una contro-fase o micro delay o restringere le impostazioni di pan.\n\n![002.jpg](https://steemitimages.com/DQmRj5CMEsqRiB4u6Rv8Rh2RvhaxfroiZZFdKHECdF2yGVw/002.jpg)\n\n5 - Inviare i file nella massima risoluzione utilizzata nella registrazione di origine\n\nSe la sessione multi-traccia è stata creata ad una risoluzione di WAV 24 bit / 48,000 kHz o superiore, esportare il file allo stesso formato ed etichettarlo come tale (indicare sempre il formato del file di origine Bit Rate e Sample Rate). Se andra’ su CD, sarà convertito dal file originale, usando diverse frequenze di campionamento; includere un avviso per questo o metterli in cartelle separate. Non inviare un MP3 a meno che non sia tutto quello che hai.\n\n6 - Non utilizzare Maximizer o Peak Limiter sui file di origine\n\nLasciare almeno da 3 a 6 dB di headroom sul file di rendering. Si può mixare con la compressione bus attiva, se si vuole sentire i suoi effetti, ma non lasciare la compressione finale sul master per il rendering. La Distorsione nel file di origine è un problema che non può essere risolto. Non diventare una vittima nelle guerre di loudness (suggerimento: tutti noi perdiamo).\n\n![004.jpg](https://steemitimages.com/DQme3BVuFhRiq2BZuV6kERDGVtCyfcjA9m3RpSyRbdSiQL5/004.jpg)\n\n7 - Pulito, ma non agganciare la testa e la coda\n\nLasciare almeno 250 ms di aria (silezio) prima della prima nota. E 'bello avere un po' l'atmosfera prima che inizi la canzone, rimuovere qualsiasi rumore o contare-off, se si può. Lascia un full ring alla fine (secondi di silezio), rimuovere qualsiasi rumore o ronzio se potete. Si otterrà un spazio per dissolvenza, se il mastering engineer fara’ la compressione, basta dirgli dove iniziare e terminare la dissolvenza.\n\n8 - Allegare il testo insieme\n\nAbbiamo bisogno di questo per i metadati: il titolo del CD, profilo dell'artista, i titoli dei brani in ordine, codici UPC e ISRC, spaziatura, indice speciale ed esempi di crossfade pista. Informazioni di titolazione appaiono sul lettore CD con display alfanumerici, utile anche per le trasmissioni radiofoniche. I codici ISRC sono numeri di serie univoci assegnati a ciascun brano, che sono utilizzati per monitoraggio e la distribuzione digitale. Il codice UPC è il codice a barre sulla confezione del CD necessari per la maggior parte della distribuzione al dettaglio. Si prega di controllare tutta la tua ortografia e la grammatica, perché l'ingegnere di mastering non accetta reclami per errori di ortografia. Il testo non apparirà sul computer o iTunes a meno che il progetto è stato registrato presso gracenote.com\n\n![007.jpg](https://steemitimages.com/DQmWdScayXeDfLjhZVcBqvJaMEgifTtxEbeGZphNZPPecuS/007.jpg)\n\n9 - Scegli la forma di erogazione\n\nCi sono quattro forme comuni di consegna del MASTER: PMCD, DDP, WAV e masterizzato per iTunes. A PMCD (pre-master compact disc) è un CD riproducibile da cui una copia identica è trasformato dalla stamperia per la stampa su CD. Per l’uso multimediale di alta qualità, impostare una velocità di scrittura lenta sul masterizzatore CD ed eseguire un controllo degli errori sul disco finito. Fare due dischi identici in un unico pacchetto in modo che se c'è un difetto microscopico in un disco, è altamente improbabile che si verifichi nello stesso posto due volte. La confezione contiene anche i codici PQ (tabulato di mastering dati). Nel formato master DDP (Disk Description Protocol) il master e’ come una cartella di file digitali, un file stereo continuo lungo dell’ intero CD e quattro file più piccoli, che contengono testo, il tempo e le varie informazioni. E 'usato per mandare il masteriale presso Studi Mastering in tutto il mondo via Internet. I file WAV sono semplicemente 44,1 kHz / 16 file WAV da cui gli Mp3 sono creati da servizi di distribuzione come CD Baby . Il formato Mastering per iTunes utilizza il proprio codec (software di conversione) per il rendering di fedeltà superiore e la gamma dinamica per gli mp3. Vedi: http://www.apple.com/ itunes/mastered-for-itunes/\n\n10 - Lasciare tempo sufficiente per ottenere un disco di riferimento e/o il master\n\nAscolta il prodotto finito prima del processo di stampa e conserva sempre una copia del master con te, perché le stamperie spesso non restituiscono al mittente i master ricevuti.\n\n<blockquote> Paul Wickliffe - Ingegnere di registrazione professionale dal 1976. Presidente, Ingegnere Capo e Fondatore di Skyline Studios, New York 1978 - 1994 e Skyline Productions 1995 - attualmente. Nominato per il 1986 Grammy per il Best Engineered Recording, Non- Classical. Registrato, mixato, masterizzato e o prodotto oltre mille progetti di CD / LP </blockquote>\n\n![003.jpg](https://steemitimages.com/DQmc6nzYkzLY9igJVhBgcrn1PtbsFPf5AuDhLfQPTR2dvny/003.jpg)\n\nContact:\n\nYoutube: http://ow.ly/pPP030hA2VW\nTwitter: http://ow.ly/TjmV30hA2XF\nFacebook: http://ow.ly/TqE630hA2ZL\nGoogle + : http://ow.ly/Y2fq30hA339\nApple iTunes Podcast: http://ow.ly/6BIU30hA35i",
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